Invader (1969) - Rubik country life





| €2,200 | ||
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| €2,000 | ||
| €1,900 | ||
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Invader, Rubik country life, a 100 × 100 cm giclée on an aluminium acrylic panel mounted under Diasec, edition 87/431, signed by hand, 2023, United Kingdom, Pop Art, with original HENI box and gallery certificate.
Description from the seller
Technique: Giclée mounted under Diasec
Support: Aluminum acrylic panel
Numérotation: 87/431
Signature: Hand-signed
Dimensions: 100x100 cm
Condition: Excellent
Authentication: Sold with its original HENI box as well as a gallery certificate of authenticity.
Information about the work:
Invader is one of the most emblematic and recognizable figures of contemporary urban art. Elusive artist, he defines himself as an Unidentified Free Artist (UFA), claiming anonymity as a founding principle of his practice. Masked, pixelated, deliberately off-frame, his pseudonym reflects his artistic project: to invade public space with art.
Since the late 1990s, Invader transposes the digital universe into the physical world through his famous mosaics inspired by 1980s video games, notably Space Invaders. These pixelated figures, immediately legible, constitute a universal visual language, accessible to all, that abolishes the borders between popular culture, contemporary art, and urban space. Far from a mere playful gesture, this aesthetic interrogates our relationship to images, to technology, and to collective memory.
What began in 1998 with the installation of a first mosaic on a Paris wall quickly grew into a global project. To date, more than 4,000 works have been disseminated in dozens of cities around the world, transforming the artistic act into a planetary cartography. This démarche takes on a strong symbolic dimension when one of his works becomes the first work of art exhibited in space, integrated into the International Space Station.
Parallel to his activity in public space, Invader has progressively entered the institutional field. He has presented solo exhibitions in major galleries and institutions, from Paris to Osaka, never renouncing his street roots. This double presence — in the street and in dedicated spaces — constitutes one of the foundations of his singularity.
His work also extends to new media, notably with the Rubikcubism series, in which he composes painting-sculptures from Rubik’s Cubes. True to his pixelated vocabulary, this series continues his reflection on the digital image, color and materiality, while placing his work within a contemporary tradition of sculpture and assemblage.
Seller's Story
Technique: Giclée mounted under Diasec
Support: Aluminum acrylic panel
Numérotation: 87/431
Signature: Hand-signed
Dimensions: 100x100 cm
Condition: Excellent
Authentication: Sold with its original HENI box as well as a gallery certificate of authenticity.
Information about the work:
Invader is one of the most emblematic and recognizable figures of contemporary urban art. Elusive artist, he defines himself as an Unidentified Free Artist (UFA), claiming anonymity as a founding principle of his practice. Masked, pixelated, deliberately off-frame, his pseudonym reflects his artistic project: to invade public space with art.
Since the late 1990s, Invader transposes the digital universe into the physical world through his famous mosaics inspired by 1980s video games, notably Space Invaders. These pixelated figures, immediately legible, constitute a universal visual language, accessible to all, that abolishes the borders between popular culture, contemporary art, and urban space. Far from a mere playful gesture, this aesthetic interrogates our relationship to images, to technology, and to collective memory.
What began in 1998 with the installation of a first mosaic on a Paris wall quickly grew into a global project. To date, more than 4,000 works have been disseminated in dozens of cities around the world, transforming the artistic act into a planetary cartography. This démarche takes on a strong symbolic dimension when one of his works becomes the first work of art exhibited in space, integrated into the International Space Station.
Parallel to his activity in public space, Invader has progressively entered the institutional field. He has presented solo exhibitions in major galleries and institutions, from Paris to Osaka, never renouncing his street roots. This double presence — in the street and in dedicated spaces — constitutes one of the foundations of his singularity.
His work also extends to new media, notably with the Rubikcubism series, in which he composes painting-sculptures from Rubik’s Cubes. True to his pixelated vocabulary, this series continues his reflection on the digital image, color and materiality, while placing his work within a contemporary tradition of sculpture and assemblage.

